Delivering immeasurable volumes of snark about movies and anything else that pops into my head

Wednesday, February 17, 2016

Review: "The Witch"

Atmospheric and archaic, “The Witch” is a bold take on the
horror genre that’s both quite old and disturbingly new.

Set in 1630 New England against a backdrop of Puritans fresh
off the boat from England, it’s about a hyper-religious family that stakes its
claim in a remote stretch of forest only to experience disturbances they
ascribe to satanic forces. One of the beauties of writer/director Robert
Eggers’ approach, who makes his feature film debut, is that he leaves their
state deliberately open to interpretation -- at least for a time.

At first, we think it’s all in the heads of these superstitious
people, who cast suspicion on each other for what’s happening to them. The
family believes in the literal truth of every word in the Bible, so the idea of
the Devil appearing to enlist them or witches trolling the forest is viewed as
entirely plausible. We see how pliable they are, and understand how the Salem
witch trials came to be.

But eventually it becomes clear that just because the siblings
accuse each other of being witches to deflect blame doesn’t mean there really
isn’t an old hag off brewing spells.

Things go bad early when the baby boy Samuel is snatched out
of the care of the oldest daughter, Thomasin, literally while her eyes are
closed during a game of peek-a-boo. Played by the luminous Anya Taylor-Joy,
Thomasin shoulders much of the burden for caring for the younger children -- not
to mention the quiet, inexplicable ire of her mother, Katherine (Katie Dickie).

After days of searching, they give up the infant’s fate. The
father, William (Ralph Ineson), blames a wolf rather than believe Thomasin’s
supernatural tale of sudden vanishing. But then eldest son Caleb (Harvey
Scrimshaw) disappears, too, and the tykes, Mercy and Jonas (Ellie Grainger and
Lucas Dawson) seem to share a fey commune with the alpha goat, whom they dub
Black Philip.

With
his long face, sad eyes and voice so deep it seems to issue up from the very pit
of the earth, Ineson is a compelling figure as the patriarch, whose soul is
weaker than his commanding demeanor suggests. And Dickie, who played a mentally
unbalanced mother in “Game of Thrones,” brings some of those unnerving aspects
to this role, too.

But it’s really Thomasin’s story, as we see everything
through her eyes. We understand her resentment at such a cloistered life, her
yearning for a wider world and even her attempts to cast blame elsewhere. She’s
good, but not pure, because no one is.

With its perpetually gray skies and earthy backgrounds, the
film is virtually monochromatic except for Thomasin’s golden hair -- and the
inevitable blobs of blood that come drip, drip, dripping into the frame.

It’s
not the most accessible film, and Eggers’ devotion to accurate period speech --
thees and thines, etc. -- often makes it difficult to understand the dialogue.

But “The Witch” is a movie you feel more in your bones than
the head. It creeps into your innards like a pestilence, and stays to feast.